É do terceiro álbum solo do tecladista suíço Patrick Moraz, de 1978, gravado no período em que ele morava no Brasil, entre suas participações no Yes e Moody Blues, junto com suas interferências no Vímana.
Referências totais à música brasileira, até porque tinha músicos brasileiros (percussionistas) participando.
Enquanto isso ele participava também de discos de brasileiros, sendo a mais notável a atuação no primeiro (ok, segundo) disco do Zé Ramalho ("Avohai").
Formação: Patrick Moraz (vocals, chant, whistling, grand piano, electric piano, harpsichord, Mellotron, keyboards, mini-Moog synthesizer, vocoder, vibraphone, marimba, percussion);
Joy Yates (vocals);
Gordinho, Milton Manhaes, Armando Marçal, Jorge Garcia (percussion).
A clássica Avôhai de Zé Ramalho com os teclados do suíço Patrick Moraz
"Loosely planned around a concept of primitive (i.e. acoustic) culture clashing and then merging with modern (i.e. synthesizer) culture, Patrick Moraz could more accurately be said to track the keyboardist's descent from the rich acoustic diversity of his '70s releases into the synthesized tones of his '80s albums. While heavily processed vocoder lines show up in "Primitivisation," this album is largely instrumental. The result, though, is...an interesting demo of Moraz's future work. The appropriately cheery "Temples of Joy" makes its debut here; with Bill Bruford's fine drumming added, it would reappear in an otherwise identical form six years later on Flags. That same album's "Karu" appears here as a solo in the gentle vocal piece "Keep the Children Alive," while the woozy pitch-bending synths of "The Conflicts" prefigures such releases as Future Memories. It is a pivotal album in Moraz's development, and thus worth a listen to Moraz fanatics, who will...enjoy Moraz's pleasantly pensive piano solo in "Intentions.""
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